"The black silk outline stitchery on linen lasted well through the late seventeenth and eighteenth centuries. Very little of it is seen outside the museums, as, not being strikingly beautiful or attractive, it has been destroyed. Another phase of the same stitchery was working cotton and linen garments, hangings and quilts in a kind of quilted pattern with yellow silk. The finest materials were used, the padding being placed bit by bit into its place. The quilting work was made in tiny panels, illustrating shields and other heraldic devices, and had a surface as fine as carved ivory. When, as in the case of one sample at South Kensington, the quilt is additionally embroidered with fine floss silk flowers, the effect is very lovely." One interesting feature of "black work" and similar flat embroideries was their constant use in decorating furnishings for the bedroom. It was peculiarly well adapted for quilts, as its rather smooth surface admirably resisted wear. [Illustration: OLD BED WITH QUILT AND CANOPY AND TRUNDLE BED BENEATH Now in Memorial Hall, Deerfield, Mass.] [Illustration: TWO WHITE TUFTED BEDSPREADS Both made in Pennsylvania about 100 years ago] Fashions in needlework changed, but not with the same rapidity as in clothing. Gradually ideas and customs from other countries crept into England and new influences were felt. An established trade with the Orient brought Eastern products to her markets, and oriental designs in needlework became popular. About this time "crewel" was much in vogue. This was embroidery done with coloured woollen threads and was a step backward in the art. Some of this "crewel" work, done in the seventeenth century, is described by M. Jourdain in "English Secular Embroidery": "These hangings, bed curtains, quilts, and valances are of linen or a mixture of cotton and linen, and one type is embroidered with bold, freely designed patterns in worsted. They are worked almost always in dull blues and greens mixed with more vivid greens and some browns, but rarely any other colouring." A very curious custom of these days was the use of "mourning beds," with black hangings, coverlets, and even sheets. As these funereal articles of furniture were quite expensive, it was a friendly custom to lend these mourning beds to families in time of affliction. In 1644 Mrs. Eure wrote to Sir Ralph Verney: "Sweet Nephew, I am now overrun with miserys and troubles, but the greatest misfortune that could happen to me was the death of the gallantest man (her husband) that I ever knew." Whereupon Sir Ralph, full of sympathy, "offers her the loan of the great black bed and hangings from Claydon."